Some thoughts on Jon Stewart’s political comedy that deserves more votes than it’s getting.
As Covid rages and resurges, new films find themselves competing for the attention of audiences who are homebound while theaters struggle to find a method and even a time to re-open. This doesn’t automatically spell doom for the release of a movie once headed to the big screen. The King of Staten Island has proven to be a surprise hit on VOD, while Hamilton looks to dominate the streaming wars this weekend. Yet one title which has come and gone with almost no fanfare since its release last week is the political comedy Irresistible. Written and directed by Jon Stewart, the film deals with democratic campaign strategist Gary (Steve Carell) who is taken with a viral video featuring a veteran from Wisconsin named Jack (Chris Cooper)giving a passionate speech about the importance of immigrants. Seizing the opportunity to hopefully turn the state blue, Gary jets off to the tiny town of Deerlaken where he convinces Jack to run for public office. The plan seems to be working just fine until Republican pit bull/Gary’s archenemies Faith (Rose Byrne) shows up with a similar plan of her own.
Irresistible is a strangely welcoming follow-up to Rosewater, Stewart’s intense, ripped-from-the-headlines drama which caused some trouble with Iran. Nevertheless, the movie established Stewart as a promising filmmaker and a fearless cinematic voice who was more than just a highly-respected TV host. But the response to Irresistible has been lukewarm to say the least. Critics weren’t impressed and audiences quickly passed over the film with both sides experiencing a collective blah about the comedy. Watching Irresistible, it’s response is both expected and surprising.
There’s no mystery as to why audiences didn’t leap towards Irresistible. The current political climate is one that has never been seen before and while Stewart’s film largely avoids the types of conflicts plaguing the country today, it still may be hitting too close to home for a divided and weary America, despite the presence of names as beloved as Carell and Stewart. Audiences shouldn’t be too worried about getting flared up though. Irresistible is tame when it comes to actual politics, opting instead to look at the behind-the-scenes players and politician makers who help propel candidates into hopeful leaders. In the most refreshing of ways, the movie plays it safe; which might explain the lackluster critical response and the overall dismissal of Stewart’s sophomore effort. There’s not a lot of bite here, admittedly. Chances to tear apart the state of politics in America over the last three and a half years are mostly not taken. The whole affair makes for a nice break from the real goings on, but leaves very little room for winning over the critical media. I can imagine that impressing the critics has never been something Stewart has been particularly concerned about, but considering his comedic gifts and keyed-in takes on politics, it’s easy to see why Irresistible won over so few.
With both sides of the movie aisle turning away from Irresistible, it would be easy to assume that the film has little to offer anybody. This just simply isn’t so. Irresistible is well acted (Carell, Cooper and Byrne all nail their characters and their respective functions within the piece), the pacing is solid, the right tone is struck and the laughs, while not totally novel, are potent and consistent. This is a movie made with the audience in mind. Stewart proves this as he indeed makes his own comment on the current climate by totally sending up the behind-the-scenes D.C. structure that feels they’re the ones who have Washington in the palm of their hand. From Gary frantically shouting to a staffer: “Where are my Hispanics,” when looking at an opinion poll, to Faith lying with poise during a CNN interview by saying that she’s actually from Deerlaken (mispronouncing the name in the process) and abhors the D.C. elite, the laughs and shots are there. The movie is not without its cartoonish elements, most notably the progression of Byrne’s character which grows more Kellyanne Conway with each successive scene and a finale that feels overblown before revealing itself to be actually pretty darned clever. Still, it’s Stewart’s comment and it works.
A trip to New York to solicit funds from donors, a steady stream of painfully funny fish-out-of-water scenarios and a glimpse at the kind of desperation which fuels those in the political game. None of it would work or feel credibly if it weren’t for the fact that the real life D.C. players have devolved to the point of satirizing themselves these days. Ultimately though, Irresistible pulls a hat trick on those people, as well as the critics, the audience and the characters themselves as it acknowledges what both political sides sometimes always do: underestimate the people. The movie ends up being the common person’s revenge on all the spin and hunger being thrust at them in an effort to gain their trust and, more importantly in the party’s eyes, their vote. If Stewart doesn’t drag any big names through the mud, he at least doesn’t waste the opportunity to lambast the ones who put them there while at the same time, paying tribute to the people who bought what was being sold. It may be no more vicious than a wrist slap, but it represents a truthful wake-up call in a larger picture.
When the credits roll on Irresistible, even the title is revealed to have been in on the joke. It follows an ending which may feel outlandish as it questions both the intelligence and integrity of most of the main characters in a way which made the movie a total winner for me. Does it push and condemn as hard and as far as it could? Not by a long shot; and that’s probably why it won’t be talked about it come awards season, sadly. Still, Irresistible makes its point without having to take any political prisoners. It’s a soul cleanser, a social statement and the kind of laughter we need and crave in times like these…and that’s all it needs to be.
